To the minds and ears of many, the all-valve 100 Watt Super Lead heads of the mid to late 1960s (â67-'69) with the famed Plexiglas front panel, have been the holy grail of great rock tone. Now, the Handwired 1959HW is a line right back to that celebrated era.

An accurate reissue, the 1959HW has âPlexi' DNA running right through it. It has the classic tonal notes of those early âPlexis' which, being non-master-volume, when cranked overdrive the power valves, producing those sweet, highly responsive, harmonically rich tones, with chest-punching projection. And to make the 1959HW as authentic as possible, Marshall used original thickness, original pitch matrix, point-to-point tag boards.

With the transformers being an integral part of the âPlexi' sound, they also worked closely with Dagnall to duplicate the later-era âPlexi' power transformer. The result is that the 1959HW is the âbest of both worlds' because it takes the best features from early âPlexis' and later âPlexis' to produce a truly awesome reissue.

FEATURES

Handwired reissue of 1967 Superlead

100W

2 Channel

2x2 inputs

4 EL34, 1 ECC83 power amp valves

2 ECC83 preamp valves

Controls: Presence, Bass, Middle, Treble, Volume 1, Volume 2

Dimensions (WxHxD): 750mm x 305mm x 210mm

Weight: 10 kg

Thirsty for more power and tube tone? Get the original quencher for a dry guitar tone. Order today.

I wrote a review just after receiving the 1959. It was delivered damaged and I received a brand new replacement. I've had some time to work with it now although I still need to be put in many hours to get the ultimate tone for me. The amp sound wonderful clean but it's very loud. If you want to get the classic Marshall crunch, you'll need an attenuator. I use a Rivera RockCrusher. With the inputs jumped and a touch of reverb, it sound full, throaty and powerful. I have the Lead channel turned up to around 4, the second channel on 6, mid on 10, treble 4, bass 0, presence 0. For a little more high gain, I use a Zen Drive with volume turned up full and distortion practically at 0. Tone heaven! I'm using Historic Reissue Les Pauls exclusively.

Very powerful amp that needs working with before you get the right sound. My Zen Drive works well to push the front end. I think I'll need a Rivera Rock Crusher attenuator to push the back end. As a clean, warm, punchy amp it is superb. I recommend jumping the inputs for greater tonal variation. When playing at bedroom levels I use the low sensitivity input. I'll be selling off my Black-face 65 Reissue Twin as it is now unnecessary.

-The first thing you should know about this amp is that you need to play it at a high volume, otherwise it would sounds bad.(3 AT LEAST) -The High sensitivity input has a lot of high frequency if you put treble,mid and presence knobs at 12 it is a knife to your ears so you need to control those knobs and for treble and presence keep it down 12.The hight sensitivity input II have a lot of bass,a bad high frequency and a very dumb sound. Something you should know about this amp is that if you plug your guitar into one channel both volumes are going to still working. For example if you plug your guitar into the 2nd channel and you start giving volume to the channel one you can add high end frequency to your sound even if you are not plugged there.-Also you must know that this amp does not sounds good with regular overdrives like TS9,TS808 and all kind of overdrives from the same type. Effects pedals sounds great. Distortion pedals also sounds goodNOTE; THIS AMPS IS PERFECT TO PLAY WITH A BAND, THE HIGH FREQUENCY IS GOING TO GIVE YOU THE DEFINITION THAT EVERY GUITAR PLAYER NEEDS.

I use a jumper cable from low sensitivity channel 1 to high sensitivity channel II and I plug the guitar in high sensitivity channel 1.

This amp is not as simple as plug and play but if you sepnd time with it you can really get a brutal sound of it.

i love this amp, if you even think about buying a different amp you are a class a dunce!this is an outstanding amp. it has amasingly clear tone with the most powerfull crunch i've ever heardwell built, durable and meant to last a lifetime and beyondit is a bit too expensive bur worth it in the end

The 1959HW sounds incredibleand professional using my most sound challenged guitar (strat with single coils). I run with Fulltone Full drive and sometimes a Boss SD 1, Carbon Copy delay and Aracom attenuator. I tried clipping the bright cap- BAD IDEA-this cut the amp's response in my view; much better body and sustaine after I put back, though it is a little trebly at lower volumes. These amps are loud and that can be a challenge to manage, especially with discerning band mates. You have to be a very good player to wield an amp like this but I am very happy with it.Very simple features.So far no problemsGreat value: found one new for a great price.

Simply put, this is the best guitar amplifier ever made. I own a 1971 model, and my brother confirmed the amp must be hand-wired. I'm personally a bass guitarist, but I use my Alembic Epic Bass through the thing often with a Tom Scholz Power Soak (which is a Power breaker,) and a Peavy guitar speaker stack. I can get a nice sound with my bass, and that's everything from clean to crunch. My friend has played the Marshall with my 1980 Dean Z and his Les Paul with his Line6 amp as an effects module, and the amp was a beast. The tone is pure cleanliness without distortion and the amp handles even the most metal tones. If you want this amp or the non-hand-wired version, I'd recommend a lot of effects pedals (like the Arbiter Fuzz Face, Dunlop Uni-Vibe, Electro-Harmonix English Muff'n Overdrive, Moog synth pedals, etc.) and a Marshall 1960A or B for the best tone because there isn't much to it by itself. But because there isn't that much, it can be manipulated farther than almost any amp to fit everything from classical to jazz to blues to rock. And still, if Jimmy Page, Jimmy Hendrix, Peter Townshend, Duane Allman, and Eric Clapton used it, and because the JCM800 is the same thing and all those guitarists can be included, it is guaranteed to kick butt. Buy this or the non-hand-wired one if you want the professional industry standard for every style of music.

I have a 1970 marshall plexi head and it is probably the best amp have ever used. It doesn't have built in effects if you want that buy the jvm410 head but I think because of that it gives it a better clead tone. The only difference I see in mine and the new one is it has no polarity swith which doesn't really matter to me so oh well. It has the four inputs the first two on side I are a really trebley type thing but it still souds pretty good I don't use them very much though. The ones I use are on the right side the II's which are a bassey type sound but still is great for lead(which is what I play) the thing about this is that there are two volume knobs on it one for the lead one for the bass if you I turn them both on 2 and it is a great(but loud) sound. This is a very loud amp it will shake your house if you have it on 2 and I only have a half stack. All in all even though it is now hitting 39 it is still a great sounding amp, I recomend you get it if you want a marshall not to mention this is the amp yngwie malmsteen, dave mustaine(before switching to jvm410's then to line 6), early eddid van halen, and even hendrix.

I owned one of these back in the 1970s and it is the holy grail of amps - clean, almost surf-sounding at low volume, but crank it past about 2-1/2 and the Marshall roar (the ORIGINAL Marshall roar) comes through, while retaining the basic clarity. It is a sound that inspires your playing to new heights and new explorations. I floated off the stage after many a night with this masterpiece. Mine had greenbacks, and it is hard to imagine a better sound than the super chime and sparkle those produced. Modern incarnations with more knobs and more channels have a longer signal path, more coloration and degraded sound. If you are a tone freak, this is the often imitated, never quite duplicated holy grail.

Super fast picking attack. Ultra clean EQing with a 10% log pot on the Middle EQ knob (This means cleanly and superlative EQing for distinct and FAT anmd SUPER TUBEY tone. I clipped the High Treble Cap on mine for a more usable structure (COnsult your tech first before you open up your head like that) I bridge the channels qnd run a 12ax7 pedal in their (My favorite way to drive a Plexi circuit) And Im not using "Plexi circuit" here loosely, This amp is all TUBE TONE! IT iS NOT YOUR brothers JCM800!!!Although I love those amps as well. I would say this, whule the 1970s JMP50 and Superlead 100s are more aggressive with more "hair" around the notes the 1959HW which is definitely and accurately based on a PRE JULY 69' circuit is all TUBE TONE. FAT, VERY ROUND and SUPER WARM. CHords are Brown sounding yet full and round a d again all TUBE TONE. SUPER FAST picking attack, did I already say that. This amp impresses me very much so. I did pay the piper for this beauty but it was worth it and I WOULD bvuy it again. Super ripping speed wide vibrato ole school funk, aggressive blues, black crowesy, Pink FLoydian and Toolish can all be and has been had (BY ME RIPPING ON THIS BAD B+OY !!) by simply plugging in and finding the right ingrediants. Make sure you get th3e G12M25 Celestions which I like best for myself. I havent tried the Celestion G12H30 Heritage types but I hear they are great Celestions as well and with more bottom end and punch. The G12M25s are more mids and nice lowend as well. Both great speaker choices .Good luck.

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